J. Paul Getty Trust’s Post

Interesting thoughts on Technical Art History in general, and more specific also on making reconstructions, by Erma Hermens.

This thesis below, that I had a privilege to supervise, is a proof that some art history departments, like the one at Utrecht University, are more open to curatorial research than others. Watching students progress from traditional art history methods to interdisciplinary approaches is fascinating. It shows how the field is evolving and how students are gaining broader, more versatile skills that will enable them to become the leaders of tomorrow. In the wake of current geopolitics, do you view the West as former, collective, or fragmented?

I was recently interviewed about my experiences co-curating “Surrealism at the Harn.” If you’re interested in learning more, check out this link below!

Spring 2024 Course Highlight: This spring, Dr. David Norman will be teaching ART HIST 500/800 "Colonialism, Indigeneity, Postmodernism." TR 9:30–10:45am | Humanities Breadth | L&S Credit. Email Dr. Norman for consent to enroll at: dnorman3@wisc.edu #postmodernart #uwmadisonarthistory #uwmadison #arthistory #colonialism #Indigeneity #OnWisconsin #contemporaryart #postmodernism Description: This course will revisit the history of contemporary art in the Americas through the lens of settler colonialism. It takes its cue from a provocation: that settler colonialism shares certain structural similarities with the discourses and art practices identified with conceptual art, institutional critique, and postmodernism. Unlike other forms of imperialism, such as mercantile and plantation colonialism, "settler colonialism" describes a set of practices by which one population displaces another within a particular territory. An ongoing historical condition, settler colonialism is characterized by territorial expansion, historical erasure, information control, and cultural streamlining or assimilation. This course will consider to what extent similar processes can be seen in practices of artistic appropriation that gained popularity alongside postmodern discourse, or the forms spatial expansiveness taken up under the banner of postminimalism. Throughout the semester, we will study critiques of contemporary art discourse authored by Indigenous scholars and artists from the 1970s to the 1990s, when artists themselves observed similarities between settler colonial epistemes and conceptual, postminimal, and postmodern tendencies. Equally, we will examine the work of Indigenous, Native American, and First Nations artists who sought to subvert postmodernism's colonial heritage through artistic strategies like allegory and irony. Across these cases, we will develop an understanding of how settler colonialism has adapted to the contemporary era, while also gaining insight into strategies of resistance.

[ https://amzn.to/4cJx88Y ] Manifesta, Art, Society and Politics: Creating a New Europe through Contemporary Art This is the first monograph fully dedicated to critically investigating the political, economic, artistic, urban, and societal relationships of Manifesta – European Biennial of Contemporary Art, a European nomadic biennial initiated in the post-Cold War era. Despite being one of the most important recurrent exhibitions taking place in Europe, surprisingly little has been written about it since the mid-2000s, Manifesta, Art, Society and Politics provides a deeply-researched and engaging analysis of the the critically overlooked Manifesta exhibitions, as well as it's changing goals and discourse since the first edition in 1996. The book is split into four parts, divided by theme and following the exhibitions chronologically. Providing a comprehensive overview of one of the most important biennials in Europe, Manifesta, Art, Society and Politics investigates the relationship between large-scale art exhibitions, culture-led regeneration, and urban transformation. It is essential reading for students and researches of exhibition and curatorial studies, art history, and cultural studies. _____________________________________ #book #books #libros #art #fineart #visualart #contemporaryart | The Art Place AD | Commissions Earned

Catalogue Co-Ordinator role 📖 I had the opportunity to compose, collect and edit the main body of text for this year’s History of Art and Museum Studies Symposium, titled Humanity: The Response. Jamie Newall did such an amazing job on the layout and colour schemes, and Issy’s cover reflects the vast array of topics appearing throughout the symposium, reflecting the collaborative nature of the event. During the design phases of Humanity: The Response, the emerging themes of resistance, mortality and connection held a defining grasp over the symposium. The research papers being presented will reflect the collective resilience of humanity’s stories in reaction to both anticipated times and unprecedented events, as told through diverse and personal curiosity which drives the research. This research is then, in turn, interwoven with knowledge gained through the students' time earning their degrees, to result in a comprehensive and analytical examination of the artistic products of humanity. The state of being human is arguably the most prevalent and overarching topic covered within art history, and therefore can be applied to this symposium through exploring the different avenues of our past existence and informing potential directions going forward. #symposium #historyofart #historyofartandmuseumstudies. #mortalunderstanding

This research aims to explore the significance of the symbolic relationship between the concept of the human self and the circular shapes, and its manifestations in the visual arts, from an interpretive and hermeneutical perspective, comparing works of art from different periods of time, and from multiple artistic schools and currents. The research deals with the interpretation and analysis of these works of art, based on the theory of the pioneering Swiss psychologist "Carl Jung" about "archetypes", that is, in its "Jungian Archetypes" form. https://lnkd.in/ePhztVqD

The newest issue of VENUE: a digital journal of the Midwest Art History Society has recently been published! It's a special issue on exhibiting Indigenous art. There are four excellent articles exploring facets of museum history and contemporary practice, which I briefly frame in the issue's Introduction. Download the entire issue or individual articles here: https://lnkd.in/gjYxpwK4

CfP: Sensing the Anthropocene: Post-digital Entanglements in Culture, Aesthetics, and Arts Education The call for Issue #3 of the IJRCAAE is still open (inviting abstracts of 300 words):